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possess that fanciful ease and fluency
which the great experience and good taste of Mr. M. lead us to expect as
proceeds from his pen. The execu
tion, also, is far from requiring ex
traordinary exertions. The much-admired Scottish Air, “Let us haste to Kelvin Grove,” introduced in the Opera of “Guy Mannering,” arranged with Wariations for the Piano-forte, by J. C. Nightingale, Organist of the Foundling Hospital. Pr. 2s.— (Monro and May, Holborn Bars.) Caraffa's celebrated Cavatina “Aure Felice,” from “La Cenerentola,” arranged with Variations for the Piano-forte, by the same. Pr. 2s. —(Monro and May.) The variations upon both these themes are written in an easy familiar style, and yet with a selectness in point of ideas and treatment, which will distinguish them from the routime productions of this class, so plentifully dispensed to the public. We should prefer the variations upon the Scotch air, as exhibiting more ease and fluency, perhaps even gracefulness of diction, than those upon Caraffa's cavatina. The cause of this difference, we doubt not, lies in the nature of the themes, and more particularly of their harmonic structure. Caraffa's, with all its fascinating originality, exhibits some heterodox progressions, such as C, 3, 5; D, 3, 5, &c. which, when we first heard the air sung by Signor Torri, proved rather indigestible to our delicate scholastic organs, and which indeed, as we observed in a former Number, some conscientious variationer disdained following, substituting at once the more current C, 8, 5; G, 7, &c. But one gets used
to these things in time, and at last thinks them extremely meat. It is
|these questionable harmonies which, a matter of course in any thing that
when they come to be amplified by variation, prove troublesome and awkward in the management. This difficulty appears to us to have been felt in some of the variations, No. 2, for instance; and where the authentic harmony is less adhered to, as in No. 4. less inconvenience is experienced, and the variation comes out more round and satisfactory. The waltz, No. 5. is in good style; and in the march which follows, as well as in the coda, Mr. N. has been very successful. Having already encroached upon our limits, we must be brief in our notice of the Scotch theme. Most of the variations, eight in number, are of decided interest. The style of No. 3. is fresh and select: the demisemiquaver passages in No. 4. are melodized with uncommon ease and fluency: the waltz, No. 5. proceeds pleasingly, at least the first part; the second is less smooth: the little morceau of march, No. 6. is quite as it should be: the triplets (No. 7.) well picked and assorted; and the eighth variation terminates the whole with effective energy. What enhances the value of these variations, is the ease with which they may be executed. They are quite within the reach of a good pupil of a twelvemonth's standing.
WOCAL COMPOSITIONS. Vocal Anthology, or the Flowers of
Song. Part VII. Pr.6s.-(Gale,
The contents of this number are, a celebrated Madrigal by Orlando Gibbons; two Scottish Melodies; Rossini's “Oh mattutini Albori;” a beautiful Motett (“Rorate Coeli") by the Abbé Vogler (to the biographical notice of whom we have to add, that he died at Darmstadt in 1814); Haydn's well-known Canzonet, “She never told her love” (a perfect musical cabinet picture); a Song by Reichardt; another by Carl Maria von Weber, the author of the celebrated opera “ Der Freyschütz" (the magnus Apollo of modern German music); and an original French Song by Mr. Cather, of decided merit, tolerably, but not throughout, correct in point of French prosody. “Ah qual concento,” Romance from the Opera “ Tebaldo e Isolina,”
composed by Morlachi. Pr. 2s.
(Boosey and Co.) A new musical acquaintance, and an important one, as far as the name goes. Morlacchi, born at Perugia in 1784, and now, we believe, Maestro di Capella at Dresden, has numerous partisans in Italy, who prefer him to Rossini. It would be preposterous in us to form our estimate of his merits from the first song that has met our eye. Rossini has written many which are worse, and many greatly superior. Thus much we can aver for the present, that this romance presents great freshness, delicacy, and elegance of musical diction, without absolute novelty of thought. The idea of allotting to the voice a series of interrupted sentences in recitative, while the instruments proceed with a regular and continued subject, and eventually only to assign that subject to the singer too, is of the happiest effect. Some reminiscences from Weigel's “Schweitzer familie” (Swiss family) are not to be mistaken. But the composition as a whole is fascinating. It has vocal passages of dif. ficultexecution; a circumstance which
should always induce publishers to add, above the stave, an easier version, so as to render the song more generally accessible. “ In quel modesto Asilo,” Duetto Notturno per Soprano e Tenore, composto, e dedicato a Mlla. A. Beresford, da Valuo. Castelli. Pr. 2s.-(Boosey and Co.) A vein of sympathizing tenderness distinguishes this duet favourably. The first strain proceeds in select melodic combinations, not without some originality. In the 7th bar (p. 1,) we should have preferred contrary motion in the accompaniment; and if there is to be G b in the second crotchet, we should have minorized the first too, by substituting C b for C H. In the second page, some hard progressions present themselves in the two places where the soprano has “sospirerå.” But the duet, as a whole, cannot fail to interest the amateur. Selection of Songs, Duets, &c. from the most admired German Operas, with English Words by Thomas Campbell, Esq. No. III. Pr. 1s. 6d.—(Boosey and Co.) This number contains an air of Beethoven with an English text by Mr. M'Gregor Logan. Beethoven has composed some most charming songs, and some of very inferior merit. The present hardly belongs to the first class; indeed without the warranty of the respectable publishers, we should hesitate to ascribe it to so great a master. Have his “Herz mein Herz,” his “ Kennst du das Land,” not to mention several others of first-rate beauty, been everjoined to an English text? “'Tis not the beam of a languishing eye,” a Ballad, sung by Mr. Braham at the Theatre Royal DruryLane, composed by N. C. Bochsa. —Pr. 1s. 6d.—(Chappell and Co.) A pretty little song, of graceful melody and simple yet effective accompaniment. Every thing is in good taste and keeping. “ The Sea-Boy's Call,” Canzonet, composed for, and dedicated to, Miss Ann Shuttleworth, by G. Kiallmark. Pr. 2s. – (Chappell and Co.) Send round the rosy cup,” a facourite Song sung by Mr. Coulden at the London Concerts, &c.; written by Mr. J. E. Gifford; composed by J. Monro.—(Monro and May, High-Holborn Bars.) “Can I forget," the admired Ballad written by D. O'Meara, Esq. sung by Mr. Pyne at the Theatre Royal Covent-Garden, &c. composed by J. Davy. Pr. 1s. 6d.— (Monro and May.) Without entering upon any comparison, which would greatly depend upon particular taste, we briefly notice the above three songs as possessing claims, nearly equal, to the amateur's favour. In Mr. Kiallmark's, the Siciliana is peculiarly attractive, and the expression at “Spring up, good breeze,” extremely happy. Mr. Monro's anacreontic effusion has an agreeable, lively, and symmetrical melody; all is devised with taste and propriety. “Can I forget,” by Mr. Davy, is rather high for common voices. The motivo, and the whole of the first vocal page, are tastefully devised, but we should not have given to the whole of the four commencing bars the tonic harmony. From “That loves to soften others' woe,” our opinion is less favourable. The musical diction is not sufficiently clear,
select, and impressive. Much more might have been made of that part of the text.
HARP. “La Chasse au Renard,” a characteristic Fantasia for the Harp, composed for, and dedicated to, Miss H. E. Warneford, by N. Bochsa. Pr. 4s.-(Chappell and Co.) The Fox - Chase of Mr. B. is a highly characteristic and so very entertaining a composition, that, we make sure, it would have great success under an adaptation for the piano-forte, which would require little substantial alteration. The whole of the incidents of the sporting expedition from “Daybreak” to the “Death” (which latter, by the way, is left to conjecture, but easily recognised), are appropriately and very intelligibly depicted; and the composition, independently of its descriptive interest, possesses decided musical merit. “Cruda Sorte,” the celebrated Terzetto in “ Ricciardo e Zoraide,” by Rossini, arranged for the Harp and Pianoforte, ea pressly for the Right Hon. Lady Caroline Bentinck, by Cipriani Potter. Pr. 4s.(Boosey and Co.) Mr. P. no doubt had his reasons for allotting the brunt of action to the piano-forte, and indulging the harp with a very reduced portion of execution. The latter instrument in fact is here but one of accompaniment. With this reserve (perhaps a welcomeone to many harpists), we are warranted in bestowing unqualified encomiums upon the arrangement; it is most rich and effective. “Grand Russian March” for the Harp, composed, and dedicated